The TÜLIPS release party last Saturday night was DIY tight — a full Doom & Bloom experience from dizzying start to shoegazing finish. L.A. Girlfriend Sydney Banta DJ'd and slipped in some new tracks from her upcoming LP Neon Grey, while San Pedro girlfriends Bombón worked the house with some frothy surf rock jams. As Angie and Taleen took the stage, they gave shoutouts to their producer Greg Katz way back in the audience, and introduced Jen Spazmaster to dance as the crowd got up close and cozy. And then TÜLIPS roared, had everyone spinning from "Vertigo" to the oscillating dregs of "Hopefully Hopefully". 

Terminal A's heavy synthpunk noise closed Non Plus Ultra, and we walked home feeling pretty sweaty. TÜLIPS are currently on tour; stream and purchase their new album Doom & Bloom, cassettes available via Lolipop Records. - Ryan Mo

Some bands throw down their debut album a year into formation. Others go at it a little longer. For best friends Taleen Kali and Angie Bloom of TÜLIPS, it's been a four-year wait, but well worth it. 

The dual guitarists/vocalists come from completely different musical backgrounds: Taleen's the "Doom", all about dirtbox growl and migraine-inducing feedback, while Angie's the "Bloom", slick with 50's jangle and doo-wop spirit. They're an unlikely pair, but continual back-and-forths with mixtapes have drawn these polar opposites together. And when glued down with drummer Travis Moore and bassist Miles Faster, TÜLIPS keep it classy, leaving local crowds reeling from tinnitus in pools of sweat. Don't believe me? Just ask the bands that shared their bills, like LA FONT and Bür Gür.

Doom & Bloom releases Friday the 13th from Lollipop Records. TÜLIPS' album release party will also include sets from Terminal A and BomBón, with a DJ set from L.A. Girlfriend. Listen to "Hotspur" below. - Ryan Mo, flyer art: Maritza Torres, Typeset: AJ Horton

Peligrosa, Austin’s premier Latin electronic music collective, has just teamed up with Houston-based collective Bombón to release what is absolutely one of the can’t-be-missed beat records from Texas this year. Now, electronic music collective is a term that probably brings up images of a council of brightly colored rave-outfit bedecked youths sitting about a table in their most regal of kandi jewelry and discussing molly-related group policies (No? Just me?), but in Austin, that concept more often refers to the complex and eclectic crews of veteran electronic producers like Applied Pressure, Feedback Alliance and the legendary Peligrosa.

Peligrosa has been a shining beacon of fun, smart beats in Austin since their birth back in ’07, and just this year they have taken their hard-won production and music-industry acumen to the next logical step by creating Discos Peligrosa, their very own label.

This record, a split aptly titled BOMBÓN X PELIGROSA, is one of the first releases by Discos Peligrosa as a new label, and it features Peligrosa and Latin robot soul mates Bombón taking turns dropping killer tracks one after the other for 7 stellar pieces of future Latin dance music. Both of these groups are all about taking the traditional sounds of Latin instrumentals and song structures (especially beats) and melding and exploding them from their original states into the newtech, future-leaning world. Both crews are on point in their efforts toward this highly commendable endeavor with BOMBÓN X PELIGROSA, which is exciting and dynamic from end to end and is actually scientifically impossible to avoid dancing to (Being Ultra Music Expert Geniuses, we know this to be a fact.).

Of particularly special note on this record are the kick-off track “Chamba” by Bombón and “Santa Marta” from the Peligrosa side of things. “Chamba” comes in with a bit of a hip-hop meets Latin electronica thing, and whose oddly reassuring deep demon vocals anchor the track’s party vibe to somethin’ that’s fun-ly sinister (I get the evil toons from Who Framed Roger Rabbit dancing to it in my head). “Santa Marta,” on the other hand, starts out about as light and chill as a track can with some pan flute bars, but this being Peligrosa, it quickly transitions to some bouncy melodic dance mallet-work (something like a xylophone sounds like) and then to straight-out, nuts-ass electronic wonkiness at 1:11 in. Frankly though, that’s just my particular taste on this record when it comes to best tracks, because there is not a weak one in the bunch here. Slink-beat album-closer “Vientos” with it’s Atlantic City boardwalk in 2060 vibe almost knocked off “Chamba” for my top spot, and the weird warped hedonistic “Me Gusta” is definitely one of the best weed tracks since Madvillain’s “America’s Most Blunted.”

Get up on this thing below and blow your friends minds by dropping some of the most undeniably sick future dance music available in the world at yer next party instead of That Goddamned EDM again, and keep up with Peligrosa at their blog here, which is frequently updated and has some pretty damn decent writing if we do say so. Viva Peligrosa.